Digital horror is some of the scariest money can buy. It’s been around for a while, I mean in 1977 Giorgio De Maria gave us “The Twenty Days of Turin,” George Orwell gave us “1984,” what? 30 years earlier. But now? It’s a whole new level. The reason “The Twenty Days of Turin,” horrifies me as much as it does is because of just how accurately it predicted the internet, and all the gritty, dodgy, horny corners of it. Digital horror is aware of the fact that it doesn’t necessarily need to conjure monsters lurking under the bed or hidden in wardrobes. The horror is handheld. A few taps away. Maybe blasting through your speakers. You could click away from the relatively pretty safe realm of Instagram, hop on the internet and land yourself in deep trouble within seconds.
Social Media Horror:
Wake Up and Open Your Eyes by Clay McLeod Chapman
Where They Wait by Scott Carson
Little Eyes by Samanta Schweblin
Unboxed by Briana Morgan
Influencer by Adam Cesare
Ghoster by Jason Arnopp
Internet Horror:
Amygdalatropolis by B.R Yeager
Things Have Gotten Worse Since We Last Spoke and Other Misfortunes by Eric Larocca
The Twenty Days of Turin by Giorgio De Maria
Rekt by Alex Gonzalez
Scanlines by Todd Keisling
The Sluts by Dennis Cooper
The Girl in The Video by Michael David Wilson
Broadcast Horror:
The Loop by Jeremy Robert Johnson
Radio Tower by Boris Bacic
Ghost Radio by Leopoldo Gout
Broadcast by Liam Brown
8114 by Joshua Hull
Video Game Horror:
Vaporware by Richard Dansky
Such Lovely Skin by Tatiana Schlote-Bonne
Zero Lives Remaining by Adam Cesare
Polybius by Collin Armstrong
The Long Trial of Nolan Dugatti by Stephen Graham Jones
You’ve Lost A Lot of Blood by Eric Larocca
End of Watch by Stephen King
AI Horror:
This Thing Between Us by Gus Moreno
William by Mason Coile
The Mansion by Ezekiel Boone
Amen Maxine by Faith Gardner
Rose/House by Arkady Martine